future in debris

Budućnost u ruševinama

8. marta, u 18h, je premijerno prikazana najava projekta u formi video eseja, rezultat razmjene malog tima umjetnika, filmskih radnika, kustosa i teoretičara koji čine Adrijana Gvozdenović, Sonja Dragović, Lenka Đorojević & Matej Stupica, Ivan Marković i Natalija Vujošević. U online razgovorima i saradnji tokom proteklih mjeseci, kreiran je sjedinjeni šum koji kombinuje video, zvuk i različite tekstove proizašle iz razmjene ideja, bojazni i nadanja. 

Ovim događajem najavljen je početak interdisciplinarnog projekta EKOLOGIJE BUDUĆNOSTI / Budućnost u ruševinama /  koji će se održati od 04. Do 28. maja 2021 godine u Podgorici.

BUDUĆNOST U RUŠEVINAMAnaziv je izložbe i interdisciplinarnog programa koji se događa upravo na trideset godina od proglašenja Crne Gore ekološkom državom, tokom kojih smo suočeni sa naletima divljeg neoliberalizma, čije se posljedice reflektuju kroz urbani i prirodni pejzaž. Dok se ideje o zajedništvu urušavaju zajedno sa zapuštenim remek djelima socijalističke arhitekture, crnogorske prirodne ljepote postaju valuta za privlačenje kapitala investitiora. Kako u ovakvim okolnostima vidjeti budućnost društva? Potreba za ponovnim promišljanjem zajednice i ujedinjenom akcijom za pronalaženje ekologija budućnosti, goruće su teme kojima se bavi i program Future in Debris.
Program će takođe otvoriti razgovor o ulozi umjetničkog i ekperimentalnog filma u savremenoj umjetnosti, kao i mogućnostima za podršku i razvoj ekperimentalnih umjetničkih filmskih projekata u Crnoj Gori.

BUDUĆNOST U RUŠEVINAMA kuratorke Natalije Vujošević dio je programa EKOLOGIJE BUDUĆNOSTI, projekta TU SMO: Pokretne slike umjetnika (WE ARE HERE: Artists’ Moving Image), British Council-a i LUX-a, koji je razvio kurator Tendai John Mutambu, British Council i LUX. EKOLOGIJE BUDUĆNOSTI se Zapadnom Balkanu predstavlja kroz seriju izložbi, projekcija i događaja, koje uređuje šest kuratora iz regiona.  

Nosilac projekta za Crnu Goru je Filmski centar Crne Gore, a pored British Council-a i LUX-a , partneri na projektu su Fondacija „Petrović Njegoš“ i Institut za savremenu umjetnost. 

The experimental film essay, launced on March 8 at 6 pm is the result of an exchange of a small team of artists, film workers, curators and theorists consisting of Adrijana Gvozdenović, Sonja Dragović, Lenka Đorojević & Matej Stupica, Ivan Marković and Natalija Vujošević, and is also announcing the beginning of the interdisciplinary project FUTURE IN DERIS / FUTURE ECOLOGIES that will be held from May 4 to 28 in Podgorica, Montenegro.
Through online conversations and collaborations over the past months, a unified noise has been created that combines video, sound and different texts resulting from the exchange of ideas, fears and hopes.

FUTURE IN DEBRIS, curated by Natalija Vujošević is part of FUTURE ECOLOGIES, a programme from WE ARE HERE: Artists’ Moving Image from the British Council Collection and LUX developed by Tendai John Mutambu, British Council and LUX. FUTURE ECOLOGIES in the Western Balkans is presented through a programme of exhibitions, screenings and public events, curated by six curators from the region.

THE FUTURE IN DEBRIS is the name of the exhibition and interdisciplinary program that takes place exactly thirty years after Montenegro was declared an ecological state, during which we are faced with the onslaught of rampant neoliberalism, the consequences of which are reflected in the urban and natural landscape. While ideas of community are collapsing along with neglected masterpieces of socialist architecture, Montenegrin natural beauties are becoming a currency to attract investor capital. How to see the future of society in such circumstances? The need to rethink the community and take united action to find the ecologies of the future are burning topics that the Future in Debris program is also addressing.
The program will also open a discussion on the role of art and experimental film in contemporary art, as well as opportunities to support and develop experimental art film projects in Montenegro.

Participating artists: Lenka Đorojević & Matej Stupica, Adrijana Gvozdenović, Louis Henderson, Irena Lagator Pejović, Ivan Marković, Uriel Orlow, Elizabeth Price, Charlotte Prodger,  Ben Rivers, Ivan Salatić, Jelena Tomašević. 
Spatial Action Forum / concept  KANA

The project partner for Montenegro is the Film Center of Montenegro, and in addition to the British Council and LUX, the project partners are the Petrovic Njegos Foundation and the Institute of Contemporary Art.

Kod Karvera

Mara Jovanović

Mara Jovanović (rođena 1999.) je studentkinja iz Podgorice, trenutno na poslednjoj godini arhitekture na Brown Univerzitetu u SAD-u. Fokusirajući se na Podgoricu, a naročito njeno ‘podzemlje’ koje usijecaju Ribnica i Morača, a definišu prostori kao što su Skaline i Karver, njen noviji akademski i umjetnički rad istražuje potencijal arhitekture da proizvede i očuva intimnost, transgresiju, pripadanje i zajedništvo u javnom prostoru.

Mara Jovanović (b. 1999) is a student from Podgorica, currently in her last year of the architecture program at Brown University in the United States. Focusing on Podgorica, and in particular its ‘underground’ carved by the Ribnica and Morača rivers, and defined by spaces such as Skaline and Karver, her recent academic and artistic work explores the potential of architecture to create and preserve intimacy, transgression, belonging and community in public space.

This project is in its very early stages, currently sited kod Karvera, in Podgorica. With it, I’m working through a theory of history that sees spaces, especially those deemed marginal and ‘dirty’, as sites of accrual of personal and collective memory in the form of a material sediment, in a way much more active than the processes of sedimentation imagined by geologists, and much more intimate than those imagined by historians. These spaces define an urban underground to which marginalized lives and intimacies are often relegated, and so the dirty and worn architectures of those spaces become archives for memories and histories that often aren’t recorded elsewhere.

Lived time materializes in the form of layers of grime made by people and other organisms, but also large-scale historical events and more abstract social forces. Reading the sediment that clothes spaces such as Karver, in the line stanza one may find the traces of Podgorica residents’ romantic troubles or successes and imprints of monumental historical moments.

This project uses dirt and ruin as a way to ground time and history in the material realm and, taking care to avoid a call for forensic intervention in weathered architecture, it can present a poetic framework for feeling and practicing intimate belonging and community with a space and its dwellers, past and present, human and beyond-human alike.

Dirt kod Karvera, a far-from-comprehensive ingredient list:

A thousand weddings’ worth of spilled cheap wine, a thick coat of first date sweat, half the town’s spit, half the town’s piss, a graveyard of mosquitoes caught red-handed, tears of heartbreak, blood from all sorts of fights and clashes, bombing dust, a paint store’s worth of sprayed and scribbled love confessions, echo of a hundred gigs and poetry nights, a sea of nibbled-apart sunflower seeds, syringes and roaches, many dozens of guitarists’ spilled beer, many autumns’ worth of yellow leaf carpets, many springs’ worth of bird feathers, eons’ worth of moss, a small lake’s worth of turkish coffee and a cinematic multiverse’s worth of futures fortune-told.’

future ecologies: we are here